Page 88 - Constructing Craft

Scott dismissed functionalism or the materials used – often a way of describing craft

‒ as a basis for the distinction, labelling them, ‘erroneous, and meaningless’ and
attempted to include the craft artists: ‘All art has a function, be it to adorn, or signify

grandeur on the part of the owner, or reflect the current values of a culture or an

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era.’

Scott’s article was undoubtedly a response to criticism the CCNZ had received as a

result of its decision to compile, in the words of Campbell Hegan, the President of
the CCNZ in 1984, ‘a register [index] of selected craftspeople who’s [sic] work is
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considered to be of consistently high standard.’ The register was promoted as a
means for the CCNZ to organise its slide collection but it became evident that

Hegan’s explanation was the true purpose for such a register. Criticism of the
proposal was immediate with one craftsperson suggesting that as there already

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existed a ‘Craft Hunter’s Guide’ another guide would be a duplication. However,
this was a misreading of the intention of the CCNZ. Whereas the Craft Hunter’s
Guide was self-selected the index was to have a rigorous external selection system.

Again, in another attempt to allay fears, Board member Colin Slade, who had
prepared the draft proposal for the index, compared it to a library, suggesting that

people wishing to contact or commission a craftsperson would need some
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guidance. He added that selection for inclusion in the index would meet rigid
criteria, which included: ‘that it will be compiled by stringent methods of selection to

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ensure an objective and consistently high standard of entry.’ It was a
manifestation of the CCNZ’s plan to become a national organisation representing

‘professional’ craftspeople – a development that Bourdieu believed helped maintain
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social hierarchies.

The first selection for the Index of Craftworkers took place in 1987. Only thirty-five
met the criteria, with some craft disciplines, such as embroidery and weaving, not

represented at all. By the time of the second selection later in the year the number
of craftspeople seeking a place on the index had slipped to nineteen and only three

were selected. The CCNZ had completely misread its membership and had

provided a target for craftspeople who believed it had become elitist. One reader

Constructing Craft